The Next Reel Film Podcast

“Did the penguin tell you to do this?”Tamra Davis came on as director for Billy Madison after they’d already been filming for a few days of production as the studio felt the original director wasn’t funny enough. Davis had already met with Sandler and they connected. Plus, it helped that she found him funny. Because of this, she ended up in the director’s seat, taking over the project and delivering a film that, like it or not, has given Sandler a solid home in mid-budget comedy production. Join us – Pete Wright and Andy Nelson – as we wrap up our 90s Comedies series and our 11th season with Davis’ 1995 comedy Billy Madison.Adam Sandler – Love Him or Hate HimThis is a tough film for us to review. Neither of us are fans of Sandler’s juvenile comedy, so we really struggled to review this in a way that appeals to his fans. What we did try to do, though, is to maintain a critical eye without being overly judgmental, knowing that we’re just not the audience for this movie.It’s a tough place for us, as we both certainly love crass and dumb comedies. We’re both big fans of Dumb and Dumber. So why is this film so much more difficult to like?There’s a certain element that definitely falls on Sandler’s shoulders. His dumb title character just makes little sense to us. In context of the film’s world, why does he want to run his dad’s company? Is it just to keep Eric from it? Even Billy seems to acknowledge he doesn’t know how to do it. With that, the story ends up feeling like a lot more sketches that don’t tie together cohesively than anything else. That’s a big frustration for us.We’re also not huge fans of how some of the characters are treated or portrayed. Miss Vaughn isn’t treated well and is written to fall for Billy far too quickly. And what are Sandler and co-writer Tim Herlihy saying about their other female characters, not to mention the gay school principal?There are funny moments, but rarely do they fall to Billy. For a film about Billy, this makes it very hard for us. Regardless, we do work to not completely bag on this movie but to approach it with some serious thought. Many love it, and for that, we’re happy they have this, Sandler’s comedy, and his film productions. So check it out if you want. Either way, it’s a great conversation. Tune in to check it out. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdAnd check out our lineup for Season 12 right here which looks at franchises and series. The first episode drops July 28th for members, August 4th for everyone else! Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“How could you guys eat with a dead man at the table?”With an Oscar nomination under her belt for a short film and connections to many in Hollywood, Stacy Title was in a great position to make her first feature. She and screenwriter Dan Rosen made a black comedy that tackled liberals and conservatives along with bombastic one-way thinking with their collaboration The Last Supper. Join us – Pete Wright and Andy Nelson – as we continue our 90s Comedies series with Title’s 1995 film The Last Supper.More Than Biblical ReferencesThe title clearly connects the film to Biblical stories, so does that make this film more of a parable? Crafting a black comedy can be very challenging as often, we’re left with few people to root for. That’s certainly the case here as everyone ends up fairly despicable, even if they find a form of salvation in the end. So with all of that, how well does Title bring this film to fruition?And what about the actors? We have Cameron Diaz, Ron Eldard, Annabeth Gish, Courtney B. Vance, and Jonathan Penner as our five liberal grad students who set the story’s deadly dinners into motion. Their guests include Bill Paxton, Charles Durning, Mark Harmon, Jason Alexander, and Ron Perlman. The actors are all bringing their own thing to the parts, but are they given enough to work with? Or perhaps as a parable, the script is giving them – and by extension us – enough to work with so we can watch the story unfold and deliver its message.To the point of the message, is it as effective as we’d like? Does the ‘if you could travel back in time, would you kill young Hitler before he could do anything’ question posed several times throughout the film deliver the point of the film? How about that last dinner with Ron Perlman’s Rush Limbaugh-esque character?And what about the story thread with Nora Dunn’s sheriff as she tries to find a missing girl? What’s that doing for the story? Is it as effective as we want it to be? Could it have been used for better effect?Stacy Title’s Battle with ALSUnfortunately, Stacy Title was diagnosed with ALS in 2017, and it took her from this life in 2021. She never had as robust a film career as she likely deserved, though she still managed to make some interesting projects. We chat a bit about her and the struggles she had. We also touch on the commitment her husband Penner had in supporting her through this difficult time.Wrapping upAll in all, it’s an interesting film that generates some interesting conversations. Did it work better in 1995 than it does today? Or perhaps does it feel more relevant today than it did then? Would it work as a play now if updated? Or would that fall as flat as the film does for some modern eyes? There’s a lot to talk about here and we have a great time digging into it. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxdMore About Stacy Title and Her Battle With ALS Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“So, okay, you’re probably going, ‘Is this, like, a Noxema commercial or what?’ But seriously, I actually have a very normal life for a teenage girl.”Amy Heckerling started a project about a positive high school student for TV. She wrote several iterations before it stalled out, but when she switched agents, her new agent said it was too good for TV. So she switched it to be a feature film. And with that the foundation for Clueless was born. Join us – Pete Wright and Andy Nelson – as we continue our 90s Comedies series with Heckerling’s 1995 film Clueless.Here are some clues about what we talk about in our Clueless episode.The foundation for Clueless may be Heckerling’s TV project, but it didn’t take long for her to realize she had been pulling in elements from Jane Austen’s “Emma.” Locking that in and focusing on the Beverly Hills high school set, Heckerling found the story. And it’s a delight.Alicia Silverstone is the key for this film. She’s perfect as Cher, delivering a performance that’s authentic and kind, even while being a rich shopaholic. The rest of the cast fleshes out the film. Stacey Dash, Paul Rudd, Brittany Murphy – everyone feels perfect for the roles they play.And that holds true for the adults too. Dan Hedaya as Cher’s dad? What a loveable grump.But the movie’s more than the cast. Heckerling’s script, which intrinsically different from Fast Times at Ridgemont High because of the RomCom nature of this story, still captures the teens of the mid-90s in action and speech. Mona May’s costumes both captured the time and ended up influencing fashion for years to come. And the production design and cinematography together bring the colors and vibes to the forefront to create a hyper-realistic world.It’s a delight of a film. It’s not perfect, but is an easy watch and an easy one to fall in love with. Check it out then tune in to this week’s episode on your podcatcher of choice. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I can’t believe I’m doing this. I can’t believe I’m in a graveyard with a strange man hunting for vampires on a school night.”Fran Rubel Kuzui seems like an odd choice to end up helming a vampire comedy. Her only other film was Tokyo Pop, a drama about a young American woman trying to make it in Tokyo. But she and her husband, producer Kaz Kuzui, had found the script for Buffy the Vampire Slayer written by a then unknown writer named Joss Whedon, put the financing together with Dolly Parton’s production company, and got it made. Apparently, it was off-the-wall enough that the studio didn’t request a known commodity for the director’s chair. So Rubel Kuzui directed it, and made what feels like a bit of a mess. Join us – Pete Wright and Andy Nelson – as we kick off the last series in our 11th season – 90s Comedies. For this first episode of the series, we’re looking at Rubel Kuzui’s 1992 film Buffy the Vampire Slayer.We need to talk about Joss.Unfortunately, Joss Whedon (or Tig Notaro as we like to call him) is a key part of this property, and we have to discuss a bit about who he is and why he’s a problem. But a lot of other people worked on this film as well as the spinoff shows that it’s still valuable to talk about these properties. We do, though, have to acknowledge him. And we definitely complain about signs of his issues as they come out in his writing and treatment of the protagonist.The Film Vs. the TV SeriesThe TV series obviously was huge and had its own spinoff, comics, video games, etc. The Buffyverse is massive and still popular. So how does this film feel as the origin of all of that? That’s a tough place to start because, well, this film’s a mess. The film never can settle on a tone so ends up feeling disjointed and rushed. The world-building, while it has a strong foundation, doesn’t get enough focus so far too many elements feel disconnected and nonsensical.The actors deliver fine performances for the most part. The challenge is that so many of the characters feel underwritten. Is that on Notaro? On rewrites dictated by the studio? Improv done on set at the behest of Rubel Kuzui? It’s hard to say, but it makes it feel like some of the actors are giving fairly flat performances. Only Paul Reubens really shines in his role, as he seemed to figure out what was going on. That leaves Kristy Swanson, Donald Sutherland, Rutger Hauer, Luke Perry, David Arquette, Hilary Swank, and many others flailing.In the end, this ends up disappointing us. We had remembered enjoying it back in the day. But now, it just doesn’t stand up well on its own and, for any fans of the show, feels like a rough first draft. But it does allow for a fantastic conversation, so check it out if you’d like then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkThe TV SeriesFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“You can’t just run our lives in your sick head.”It’s clear from our two films in our current series that Susanne Bier enjoys films with complex characters dealing with complex situations. Open Hearts had two families whose lives are upturned after a car accident affects both of them. In After the Wedding, it’s a revealing toast at the wedding that turns lives upside down and forces several people to reevaluate their connections to each other. Join us – Pete Wright and Andy Nelson – as we wrap up our Mads & Susanne series with her 2006 film After the Wedding.We have a lot of thoughts about After the Wedding.This is a film dealing in a mess of a situation but somehow avoids melodramatic, false emotions. Crafting a story like that isn’t easy, but Bier manages it and delivers a powerful film here. The performances of Mads Mikkelsen, Sidse Babett Knudsen, Rolf Lassgård, and Stine Fischer Christensen are spot-on perfect, but it’s the script and direction that keeps the story believable.And that’s with a story that has several large reveals that in any other film would be signs of it being over-the-top. But not here. Bier allows the characters to learn the information then react to it as people would. It’s powerful how effective it is. It feels as if Bier learned a lot about connecting to her characters with her work in the Dogme 95 style, and even though she’s not operating under their rules here, it still shows she understands the core principals of being honest.There’s a lot to be discussed about how wealth affects and shapes Jorgen’s thinking, not to mention how he treats his family. There are also elements of altruism reflected throughout. How does that come up with the characters and their intentions?It’s a powerful film and one we’re glad to cover on the show. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I didn’t mean for this to happen.”The Dogme 95 movement started in 1995 with the first two films made under its manifesto released in 1998. By the time Susanne Bier made her film Elsker dig for evigt – or Open Hearts as it was released in English – it was the 28th film certified as a Dogme 95 film. Join us – Pete Wright and Andy Nelson – as we look a Bier’s 2002 film Open Hearts.What does Dogme 95 bring to Open Hearts?Because Dogme 95 is a key component of this film, how it looks, and its production – and because it’s the first Dogme 95 film we’ve discussed on the show – we spend a bit of time looking at its foundation, its rules, and how this fits – including what rules Bier broke during production.There’s a lot of heightened emotion throughout this film due to the nature of the story. We disagree a bit about the strength of the story. Is it just a soap opera about infidelity? Or does the inciting incident of the car accident connecting these two couples together make it something more? And does the fact that the story seems intent on having all of these characters do things we don’t like make them unlikeable, or does it make them more realistic? Either way, it’s a story dealing with a lot of complicated emotions that make for a great conversation.Regardless of what we think of the story and its melodramatic nature, the performances are great. Mads Mikkelsen always excels, and he’s fantastic here. He and Bier clearly know how to tap into some heavy emotions in their working relationships. Paprika Steen may be our favorite, though, as his wife. Nikolaj Lie Kaas and Sonja Richter put a lot on the table in their roles as well. All in all, it’s clear this is an actor’s film.But it’s hard to completely get past that Dogme 95 look, which does leave the film feeling muddy. In today’s modern digital world where digital looks as good as film, it’s tough to go back to a film like this and want to sit through the home video look.Still, it’s a film that warrants a lot of discussion, and we cover a lot of ground with it. so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find where to watch this on JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“In chess, the small one can become the big one. That’s why I like it.”Mira Nair seemed the perfect director to bring the true story of Phiona Mutesi to the big screen. She started her career with Salaam Bombay!, looking at the lives of children growing up in Mumbai in the late 80s. She lived in Uganda where the story took place. So when she was asked to be a part of it, it was an easy ‘yes’ from her. And luckily, with her clout and background, she was able to convince the producers and Disney, the distributor, that she should film it in the slum of Katwe where the story took place. Join us – Pete Wright and Andy Nelson – as we wrap up our Sports series with Nair’s 2016 fim Queen of Katwe.Queen of Katwe is a biopic with heart and authenticity.We both enjoy chess though neither of us are great at it. And we both enjoy films about chess. So why did we both miss this in theatres? Did it seem like a fairly standard biopic? Or like a TV movie? Unfortunately, we weren’t alone as the film didn’t make money at the box office.But that doesn’t speak to the quality of the film. Yes, it feels like a fairly straightforward biopic, but it feels authentic. That speaks to Nair’s drive to make it as real as possible. Film in the real locations where it took place. Cast non-actors to play the parts. And it works. With only Lupita Nyong’o and David Oyelowo as the stars in the film, it feels like it’s born of this world. And that’s even with Disney working as the guiding force.Of course it does mean that talk of prostitution is kept vague and to a minimum. Poverty rings true but never feels as raw as it did in Salaam Bombay!. Even an introductory set-up scene from the end of the film sets the world of chess up for us unnecessarily. But do these things affect the story? Only a little. This is a more positive, uplifiting story by nature so to a certain extent, the focus doesn’t hurt it much.Nair expertly works with her non-actor child stars, notably Madina Nalwanga as the lead playing Phiona, the chess champ. She’s a revelation and brings incredible life to the story. We buy into everything. She deserves to be here and carries the film on her back. The other kids equally carry their roles.It’s a touching family film that opens the world of Uganda and chess to anyone watching it. We feel these characters’ journeys. In the end, it does feel like a biopic, but it’s a strong one that warms the heart.We have a great time talking about it on the show so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“We’re on a mission from God.”Great car chases? Check.For this month’s member bonus episode, our members voted for a return to great car chases, and of the movies on the list, The Blues Brothers shot to the top. Is it nostalgia that draws us all back to this film over and over again? The great musical performances? Is it that strong a comedy? Join us – Pete Wright and Andy Nelson – as we return to our Great Car Chases series to discuss John Landis’ 1980 film The Blues Brothers.It’s a Member Bonus Episode for Everybody!This is our May member bonus episode. So why are you hearing it? Because once in a while, we like to throw one of our member bonus episodes out for everyone to enjoy as a reminder of the sorts of additional shows you get if you become a member. Please consider becoming a member to support this show. You’ll not only be helping us out but you’ll get TONS of bonus episodes. Learn more about supporting The Next Reel Film Podcast through your own membership..We Need to Talk About John Landis.This is the fifth movie of Landis’ that we’ve discussed on the show, yet we’ve never really brought up the horrific accident on the set of Twilight Zone: The Movie during Landis’ segment that killed two children and actor Vic Morrow. We figure it’s time to have that discussion and see if we can sort out the complexities of artists and art. There isn’t an easy answer in general, but it does seem clear that Landis – particularly from the accident and beyond – should be judged more harshly than, say, a director whose criminal activities didn’t take place on set.But The Blues Brothers is more than just John Landis...All that aside, a lot of other people were involved in The Blues Brothers, and we’re here to celebrate them, notably Dan Ackroyd and John Belushi. Clearly, they share a love for this rhythm and blues music and feel it’s important to celebrate the history of the music by including many great performers in the film like Ray Charles, Aretha Franklin, James Brown, Cab Calloway, and John Lee Hooker. Plus, John and Dan as Jake and Elwood Blues seriously know how to perform.But the movie is also an element of its time. Not only do we have the American Nazi party represented (even if it is to mock them), we also have the characters treating the female characters with little respect. It was a misogynistic time, and we certainly feel it here.Looking specifically at why it’s in this series (and perhaps not our Couples on the Run series), the car chases are extravagant. Landis spent more than twice the initial budget presented by the studio and a lot of that went into creating some of the biggest car chases with the most cars destroyed than any other movie – even action movies. In fact, its record for the most cars destroyed in a film wasn’t broken until this film’s not-so-great 1998 sequel.This is one of the eleven films born from Saturday Night Live sketches, and it’s generally considered one of the best ones. It’s certainly one of the most successful of the bunch. We spend a bit of time digging into the history, success, and longevity of these spinoffs.Is this a film that works for younger generations or is this truly a product of its time that doesn’t work that well for people who aren’t dads? Well, we both love it but then again, we’re both dads. So maybe that’s saying something. Then again, we’ve got a full tank of gas, half a pack of cigarettes, it’s dark and we’re wearing rose-colored glasses. Hit it. So watch the film then tune in right here or on your favorite podcatcher. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdOutrageous Conduct: Art, Ego, and the Twilight Zone Case

“This wave breaks 24 hours a day every day.”Dogtown and Z-Boys was a successful documentary when it premiered at the Sundance Film Festival in 2001, and did great for itself in its theatrical release afterward. That success spurred Stacy Peralta, the director of the film and one of the Z-boy skateboarders featured in the doc, to write a fictional telling of the story to be made as a feature film. That script went through several director’s hands – David Fincher and Fred Durst, specifically – before landing with Catherine Hardwicke. She had had great success a few years earlier with her debut film Thirteen (which we talked about on the show here). So how does this hold up as her sophomore effort? Join us – Pete Wright and Andy Nelson – as we continue our Sports series with Hardwicke’s 2005 film Lords of Dogtown.We talk about skateboarding, biopics, and more as it relates to Lords of Dogtown.We both recount our own beginnings with skateboards. Were we ever any good? No. But certainly they were foundational memories for us. That gives us a jumping off point to get into this film as we look at how our three central characters – Jay, Tony, and Stacy – find their connection to skateboarding in the 70s and turn it into a sensation.How does the story work for us? It’s very much a biopic. That’s taken both for the bad and the good. It tells the story about interesting characters, but the beats feel very standard and expected. Is there something Hardwicke could’ve done or is this the best that could’ve come from Peralta’s script?And that’s another point we discuss – can a biopic script written by one of the characters in the story every really be more than gentle with its story? This is a common complaint with many musician biopics these days because the featured figure(s) is (are) alive and producing, writing, or giving their blessing to the project. Can Peralta be objective? It doesn’t feel that way.Still, the film is full of energy. That certainly feels like something Hardwicke brings to her early films. And the actors bring it as well. Emile Hirsch, John Robinson, Victor Rasuk, Heath Ledger – so many faces in this film that warrant calling out. Because they do tremendous work throughout the film, whether their scripted parts shine or not.In the end, though, it’s hard to separate what’s great in this film with the problems we have with the script. As strong as the performances and direction are, the story always feels a bit flat. But it’s still interesting and entertaining.So check it out. It’s worth looking at, and you can check another off your bucket list. Then tune in to this week’s show! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“All these years, you just looked right through me.”It was after learning to box that Karyn Kusama became interested in making a film set in the world of boxing, specifically focused on a woman learning to box. After writing the script, she found it very difficult to finance. People said it wouldn’t work unless she changed the Latina protagonist to a white woman. They said having a female protagonist was “unbelievable” and “unappealing.” Even after her producers finally found the financing, the financier pulled out days before production was supposed to start. It was only with the last-minute financial support from one of her producers – Maggie Renzi, along with her partner John Sayles – that she was able to get her film made. And we’re glad she did, because it’s a great film and introduced the world to Michelle Rodriguez. Join us – Pete Wright and Andy Nelson – as we continue our Sports series with Kusama’s 2000 film Girlfight.Here’s what we take on in our conversation about Girlfight.Clearly, this film is a showcase for Michelle Rodriguez as Diana, our protagonist. We get a sense of her screen presence and her intensity. How much did this film end up defining the trajectory of her career? Is she ever offered parts in romantic comedies or does she purposefully steer toward the action films she’s generally making? Either way, we have a great time with her here and love watching her in whatever she chooses to make.One of the challenges we have with the film is the balance between Diana and her boxing with her relationship with Adrian. Is it the script that leaves us struggling? The performances from beginning actors? Or the structure and how interconnected Diana’s love story becomes with her boxing journey? It works for us, but not as well as we perhaps want it to.Regardless, we love the cast. Jaime Tirell, Douglas Santiago, Paul Calderón, Ray Santiago – they all deliver. Jaime’s Hector, however, is one of our favorites. What a great character.Kusama shows great technique right out of the gate. The introduction to Diana in the school hallway. The intense looks Diana gives right into the lens, breaking the fourth wall. The boxing POVs with the white flashes. Kusama’s not afraid to put strong touches on her film and they all work to its benefit. How has her career progressed after this? And what do we think of her upcoming foray into the TV series remake of Cronenberg’s Dead Ringers? Either way, she’s a fascinating director and worth tracking.This film is hard to come by these days as it’s currently not streaming. You can rent a physical copy from Scarecrow video, however, through their rent-by-mail program. Check them out – the link’s in the show notes below.It’s worth tracking this film down and watching it. It certainly would be a film worth a streaming or physical release as more people should check it out. We have a great time talking about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Rent this from Scarecrow Video’s Rent By Mail ProgramOr find out if it’s streaming at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible